Thomas is the son of a prison warden. He falls for and seduces Martin, who is older and one of the prison inmates. After Martin is released, They try to build a relationship and a life ... . You can read more in Google, Youtube, Wiki

Die Konsequenz torrent reviews

Stanley C (ru) wrote: Better than the original, but still far from the same heights as Terminator or Die Hard, with flat character development as they focus more on putting as many men and weapons and stunts, including a motorcycle right into a helicopter.

Kyle E (es) wrote: Just terrible and wrong

Marnie Z (gb) wrote: No real story here - yeah - he used to be a famous singer now he's selling coffee and bagels out of a cart but that's not really all that interesting...

Amy B (ag) wrote: I love murder mysteries so this one cuts the chase. The serial killer comes into a peaceful town that has never yet needed to lock their doors. This movie is not only suspenseful but sad too.

Skyler B (fr) wrote: this is a pretty OK movie. i can't believe i'm saying this. its nearly 10 years old. i hope they don't release a 10-year-anniversary DVD

Chad W (nl) wrote: oh man! i can't help it. i love this movie and everything about it. i could watch it with no sound and just enjoy Peter and David Paul's outfits. i.e... denim cut-offs with zebra muscle shirt and tassels. Fans of buckles and zippers will not be disappointed.

Hari A (mx) wrote: A chaplinesque sci-fi slapstick comedy by Woody Allen which manages to entertain again. Even though it can be placed under the slapstick genre, the jokes are not loud nor are in-your-face. The jokes are intelligent, sprinkling the occasional dumb moments - exactly what you would expect from Allen. Woody plays Miles Monroe, a cryogenically frozen person who is woken up 200 years later by a group of rebel scientists in order to overthrow the dystopic government. The story follows Monroe's misadventures in the future as he tries to comprehend the happenings around him. Huge vegetables, robots, orgasmatron (the best), shiny drug orb and epic one liners make this movie a silly great watch.

Mark P (de) wrote: Ha, Steve Reeves. but seriously. Hercules has amnesia, but then, un-has-amnesia to save the day from some bitchy queen.

Akash S (de) wrote: Jean-Luc Godard's audacious debut is one of the films that started the French New Wave, and it has most of the directors from the New Wave associated with it - with the script written by Franois Truffaut and Claude Chabrol, and Jacques Rivette appearing in a cameo as the dead man on the street. Even director Jean-Pierre Melville, whose reporting style and use of real locations had a big influence on the New Wave, appears in a short scene where he's an author being interviewed by Patricia and other reporters.Though not his best, Godard's 'Breathless' is his most famous and discussed film. Even after 50 years, it hasn't lost its vitality; it's interpreted in so many different ways. We all know that most of these New Wave directors (formerly critics at 'Cahiers du Cinema') wanted to shift away from the style and rules of Classic Hollywood, which most of the mainstream French films had adapted over the years. Godard tries to break these conventions and tries experimenting with various aspects of the film. Firstly, he casts Jean-Paul Belmondo, with his punched nose and unconventional looks (though quite charming), and Jean Seberg in a boy-cut tomboyish role, introducing her wearing a T-shirt and selling newspapers on the street (an intriguing and memorable intro). With regard to Patricia's character, though intended or not, the film did have quite a feminist undertone (much different from the female characters portrayed at the time). Other than this, the film mainly comprises of random conversations and a meandering plot. All these elements went on to reinvent Modern Cinema.Godard believed that most of the mainstream films tried to seduce people with their fictional reality, tried to entertain them and make them forget the worries of their daily life; he said that's how capitalist systems kept their people happy and content. He wanted to defy establishment and authority, both in terms of film and politics; though this film is not as Marxist as his later films, it's certainly quite anarchist in nature and his contempt for capitalism is clearly visible. Just like Patricia wonders, "I don't know if I'm unhappy because I'm not free, or if I'm not free because I'm unhappy." With random jump-cuts in a single scene or characters looking/talking to the camera, Godard constantly reminds the viewer that they're watching a work of fiction, thus making us watch the film in a different light, evoking a higher level of consciousness and compelling us to interpret the film's intended meaning. He wanted to stress that none of it was real, and that the director has complete control of what's being shown on screen. The film circles-in twice (in the style of film noir), once pointing to almost nothing conspicuous (to draw the attention outside of the film), and the next time when Godard himself appears in a cameo as the informer, thus ingeniously highlighting the fact that it's Godard (the director) who's controlling the plot from within and outside of the film. Even when Michel shoots the policeman, the scene is shown in such a haphazard and unusual way; the scene is as detached from the event as the protagonist, highlighting the moral jumps he takes in the situation. Though the New Wave directors were tired of the rigid style of Classic Hollywood, they were big admirers of Film Noir. Even in this film, Godard pays homage to it in various ways, whether it's the way Michel's admires and imitates Humphrey Bogart or the random circle-ins. Michel informs his identity with the tough-guy persona of Bogart's films, and the tragedy is that even when he decides/tries to escape such a life and identity, he's still pushed along the tragic fate of characters in such crime thrillers; he's stuck within it, there's no escape. And if we analyse both our characters, we realize they have none of the usual characteristics of a film hero or anti-hero; they are quite self-obsessed, amoral, aimless, so absorbed in the world of art (Michel in cinema, Patricia in literature), yet so oblivious to the world around them. Godard tries to highlight the absurdity of life without a political, philosophical or moral commitment. The final scene is as alluring and mysterious as the rest of the film. Whether it's the statement that's said or the gesture of tracing the lips - both being carried forward and reinterpreted by different members in its chain of action. Overall, let me state that 'Breathless' isn't a great film by itself; it's not even close to the brilliance and emotional resonance of Truffaut's "The 400 Blows" or Resnais' "Hiroshima Mon Amour", New Wave works which released the previous year. Other than a few captivating scenes and dialogues, most of the film is dull and boring; I wonder how dragging the original two-and-a-half-hour runtime might have been like. But the film is important for two reasons - the way it experimented with the format opened up new possibilities in cinematic storytelling, and it's the kind of film which offers such interesting interpretations and opportunities for discussion with other cinephiles.

Logan M (jp) wrote: "Hostel" offers plenty of graphic scenes of sex and drug use followed by torturous violence, but next to nothing in terms of compelling characters and plot. Then again, true fans of the splatter genre won't really care.